Sunday, May 22, 2005

And On to Japan!


Not content to take just North America and Europe by storm, Paavo is now on the way to Asia, his third continent in three weeks--and, specifically, to Japan, one of his favorite countries!

Returning to Japan for the first time since leading his Cincinnati Symphony Orchestra on a triumphant tour of that country last November, Paavo will be filling in the guest conducting shoes over the next three weeks for the NHK Symphony Orchestra on a tour of Japan (English language version of website here).

"The history of the NHK Symphony Orchestra began from the 'New Symphony Orchestra', Japan’s first professional orchestra established on October 5, 1926. After its name was changed to 'Japan Symphony Orchestra', the orchestra received full financial support from NHK (Nippon Hoso Kyokai, i. e. Japan Broadcasting Corporation) in 1951, and changed its name to 'NHK Symphony Orchestra'. The Orchestra’s performance standard has vastly improved after appointing Joseph Rosenstock as chief conductor, and its subscription concerts, which are its core activities, continued even during the World War II ever since the first held on February 20, 1927.

"Today the NHK Symphony Orchestra performs about 120 concerts a year, including 54 seasonal subscription concerts at the NHK Hall or Suntory Hall. All subscription programmes are broadcast nationwide on NHK television and over FM radio networks, as well as to Europe, North and South America, and Asia through the NHK World Service. Activities and performances of the NHK Symphony Orchestra such as regular overseas concerts since 1960, plans for semi-staged operas, complete range of the commissioned works, CD recordings with major recording companies, etc., have earned its high reputation worldwide."

PAAVO'S TOUR SCHEDULE WITH THE NHK SYMPHONY:

Wednesday, May 25, and Thursday, May 26, at Suntory Hall, Tokyo

Pärt: Fratres; Prokofiev: Violin Concerto No.1 (Hilary Hahn); and Shostakovich: Symphony No.5
* * * * *
Sunday, May 29, at Orchard Hall, Tokyo

Pärt: Collage on BACH; Haydn: Cello Concerto in C major (Truls Mørk); and Sibelius: Symphony No.2
* * * * *
Friday, June 3, and Saturday, June 4, at NHK Center, Tokyo; and Monday, June 6, at Okayama Symphony Hall, Okayama

Schumann: Cello Concerto (Truls Mørk) and Rachmaninov: Symphony No.2
* * * * *
Saturday, June 11, and Sunday, June 12, at NHK Center, Tokyo

Tüür: Aditus; Prokofiev: Piano Concerto No.3 (Alexander Toradze); and Schumann: Symphony No.3
============
NHK SYMPHONY ORCHESTRA, TOKYO
Address: 2-16-49 Takanawa, Minato-ku, Tokyo, 108-0074
Phone: 03-5793-8111
Fax: 03-3443-0278

Wednesday, May 18, 2005

Tubinfest Opens Today!


I hear, from someone who ought to know, that today marks the opening of the Festival Eduard Tubin and His Time in Tallinn, Estonia. "This year's festival is dedicated to the composer's 100th birthday. For this special occasion the festival is grander than ever. Whilst bringing together the crème de la crème in Europe's symphonic orchestras and directors, it resembles more to a symphonic parade than a festival."

Paavo is leading the Estonian National Symphony Orchestra in performances of Erkki-Sven Tüür's Aditus, Tubin's Symphony No. 5, Lepo Sumera's Musica profana and Sibelius's Symphony No. 5 at the Estonia Concert Hall tonight at 19:00.

This concert will also air over Estonian Classical Radio and Radio 3 Latvia today from 12:00 to 14:00 pm GMT.

Paavo has recorded most of these pieces and they may be purchased directly from Amazon.com by clicking on the following links:

Paavo Jarvi and The Estonian National Symphony Orchestra: Lepo Sumera, Musica Profana

Paavo Jarvi and The Cincinnati Symphony Orchestra: Eduard Tubin, Symphony No. 5

Paavo Jarvi and The City of Birmingham Symphony Orchestra: Erkki-Sven Tuur, Aditus

Friday, May 13, 2005

For the Record: PJ's New Post Gets NY Times Mention

The announcement earlier this week of Paavo's new appointment in Frankfurt received mention in The New York Times' Arts, Briefly column today (May 13, 2005):

"New Post for Paavo Jarvi

"Paavo Jarvi has been named to succeed Hugh Wolff as music director of the Frankfurt Radio Symphony Orchestra, beginning in the 2006-7 season. Under a three-year contract, Mr. Jarvi will lead the orchestra in at least 30 concerts a season, in addition to guest performances and tours. He will continue as music director of the Cincinnati Symphony Orchestra, artistic director of the Deutsche Kammerphilharmonie Bremen and artistic adviser of the Estonian National Orchestra."

Thursday, May 12, 2005

Paavo's in Paris!



It's May again and that usually means one thing: Paavo's in Paris again. This time its for a concert on Friday, May 13, with the Orchestre Philharmonique de Radio France at the Théâtre des Champs-Élysées, 15, avenue Montaigne, 75008 Paris.

On the program: Prokofiev's Lieutenant Kijé; Liszt's Piano Concerto No. 2 (Nicholas Angelich, pianist); and Rachmaninov's Symphony No. 2.

ACCESS :
* RER : Ligne C, Pont de l'Alma
* Métro : Alma-Marceau
* Bus : 42, 63, 72, 80 & 92
Tél : 33 (0)1.56.40.15.16

According to the Radio France website, this concert will be broadcast on Wednesday, May 18 at 8 pm Paris time on France Musiques. ("Le concert du 13 mai sera diffusé le mercredi 18 mai à 20h sur France Musiques.

Wednesday, May 11, 2005

Keine Abkürzungen; Gespräch mit Paavo Järvi, dem zukünftigen RSO-Chefdirigenten

With special thanks to Carola Finkel:

Keine Abkürzungen; Gespräch mit Paavo Järvi, dem zukünftigen RSO-Chefdirigenten
Interview von Hans-Jürgen Linke
Frankfurter Rundschau, 11.05.2005

Hans-Jürgen Linke: Frankfurter Rundschau: Herr Järvi, Sie haben früher zu der Rockband von Erkki Sven Tüür gehört, der heute als der bedeutendste estnische Komponist der Generation nach Arvo Pärt gilt. Was für ein Instrument haben Sie da gespielt?

Paavo Järvi: Schlagzeug. Ich habe auch Perkussion studiert. Die Band hieß "In Spe", Erkki Sven Tüür hat Gitarre und vor allem Flöte gespielt. Ich habe aber nicht nur bei ihm, sondern auch in eigenen Bands gespielt, sehr gern übrigens auch in einer Heavy-Metal-Band.

Hans-Jürgen Linke: Haben Sie auch Stücke für die Bands geschrieben?

Paavo Järvi: Nein, das haben andere gemacht.

Hans-Jürgen Linke: Ihr jüngerer Bruder Kristjan ist Gründer des avantgardistischen Absolute Ensemble und Dirigent der Wiener Tonkünstler, Ihr Vater Neeme ist ein international renommierter Dirigent - mussten Sie lange über Ihre Berufswahl nachdenken?

Paavo Järvi: Ich hatte eigentlich keine andere Wahl als Dirigent zu werden. Das ist bei uns sozusagen eine Familienangelegenheit. Aber Musik hat nicht nur diese private Dimension, sondern auch prinzipiell eine politische. Ich komme aus dem kleinen Estland, das Jahrzehnte lang sehr stark fremdbestimmt war. Für uns Esten war Musik immer auch ein Mittel, um sichtbar zu werden.

Hans-Jürgen Linke: In Ihrer Repertoire-Politik für das hr Sinfonieorchester wollen Sie einen dreifachen Schwerpunkt setzen: auf nordische Komponisten, auf mitteleuropäische Romantik und auf zeitgenössische Musik. Entspricht das auch Ihren persönlichen Schwerpunktsetzungen?

Paavo Järvi: Keineswegs, das sind nur die Themen, auf die ich mich hier konzentrieren will und soll. Ich werde natürlich auch die Haydn-Tradition des Orchesters fortsetzen. Was die nordischen Komponisten anbelangt, habe ich da natürlich eine bestimmte Vorliebe, andererseits aber gibt es hier vieles, was in Mitteleuropa und auch sonst international kaum im Konzertbetrieb repräsentiert ist. Stenhammar, Tubin, das sind Komponisten, von denen man hier zu Lande oft kaum mehr als die Namen kennt, Carl Nielsen ist für mich einer der großen Sinfoniker. Da gibt es viel zu tun. Aber mein stilistischer Einzugsbereich ist viel größer als es sich in diesen drei Themen ausdrücken lässt. Mit dem Cincinnati Symphony Orchestra zum Beispiel spiele ich schwerpunktmäßig das internationale Standard-Repertoire. In den USA ist es ja sehr schwierig, mit zeitgenössischer Musik Erfolg zu haben, man muss sie vorsichtig einsetzen. Mit der Deutschen Kammerphilharmonie dagegen spiele ich ein ganz anderes Repertoire.

Hans-Jürgen Linke: Sie werden also mit dem hr Sinfonieorchester die Tradition Hugh Wolffs fortsetzen, der hier ein polyvalentes Orchester geschaffen hat?

Paavo Järvi: Das ist genau das, was mich an meiner hiesigen Aufgabe reizt.

Hans-Jürgen Linke: Sie arbeiten zur Zeit in verantwortlichen Positionen bei drei verschiedenen Orchestern in drei Nationen, das hr Sinfonieorchester ist Ihr viertes. Kommen Sie sich da nicht selbst ins Gehege?

Paavo Järvi: Ich bin ein sehr loyaler Mensch und tue immer dort, wo ich gerade arbeite, mein Bestes. Die Vielfalt meiner Aufgaben stört mich nicht, sie kommt eher der Vielfalt meiner Interessen entgegen. Schließlich ist es so, dass ich bei allen vier Orchestern sehr unterschiedliche Aufgaben wahrnehme. In Cincinnati muss ich alles Mögliche machen, die Struktur des Orchesters und seines Apparates ist dort ganz anders, als man es aus Mitteleuropa kennt. Ich bin dort nicht nur mit der Programmplanung befasst, sondern auch sehr stark mit Management-Aufgaben und Fundraising-Aktivitäten. Beim Estnischen Nationalorchester in Tallinn habe ich eher eine künstlerisch beratende Funktion. Die Deutsche Kammerphilharmonie Bremen ist ein selbstverwaltetes Kammerorchester, was wiederum eine völlig andere Arbeitsweise zur Folge hat.

Hans-Jürgen Linke: In Frankfurt werden Sie für den Hessischen Rundfunk arbeiten, eine große Institution, in der es eine hoch differenzierte Arbeitsteilung gibt, die den Rahmen für Ihre Aufgaben definiert.

Paavo Järvi: Genau. Die organisatorische Potenz einer solchen Institution empfinde ich als sehr entlastend. Meine Aufgabe soll nicht zuletzt darin bestehen, das internationale Renommee des Orchesters zu steigern.

Hans-Jürgen Linke: Lässt sich das realisieren, ohne Einschränkungen in der regionalen Arbeit in Kauf zu nehmen?

Paavo Järvi: Sicher. Die internationale Arbeit kommt zu dem, was wir hier tun, hinzu. Ich kann dabei auf dem Vorhandenen gut aufbauen. Auch der internationale Ruf des Orchesters ist gut, vielleicht nur noch ein bisschen leise. Daran müssen wir weiter arbeiten.

Hans-Jürgen Linke: Sie waren, wie zu hören war, nicht nur der Lieblingskandidat des Musikchefs und der Intendanz, sondern auch der des Orchesters. Wie wird man Lieblingsdirigent eines Orchesters?

Paavo Järvi: Das weiß ich nicht. Ich habe es darauf auch nicht angelegt. Ich achte beim Proben auf andere Dinge als auf meine Beliebtheit. Vielleicht war ja, und das würde ich mir wünschen, die Qualität der Probenarbeit ausschlaggebend. Da setze ich meinen Schwerpunkt: Für ein Orchester gibt es keine Abkürzungen zu internationalem Ruhm, das Fundament ist immer die Probenarbeit. Ich freue mich, dass das Orchester da die gleichen Ziele hat wie ich, und wahrscheinlich war es das, was wir in den Proben gleichermaßen gemerkt haben.

Interview

Paavo Järvi, aufgewachsen und ausgebildet in Estland und in den USA, gehört zu den gefragtesten Dirigenten seiner Generation. Seine internationale Erfahrung im Musikbetrieb, seine weit gespannten und zugleich differenzierten Ansichten zum Repertoire gedenkt der Hessische Rundfunk sich zunutze zu machen, indem er ihn jetzt zum Chefdirigenten des hr Sinfonieorchesters berufen hat. H.L.

Tuesday, May 10, 2005

Ein bestens bekannter "Wunschkandidat" der Musiker


Der Este Paavo Järvi wird als Nachfolger von Hugh Wolff Chefdirigent des Frankfurter Radio-Sinfonieorchesters

Paavo Järvi will das Sinfonieorchester international bekannter machen
Wiesbadener Tagblatt (10.05.2005)
 
zib. FRANKFURT Der aus Estland stammende Dirigent Paavo Järvi wird 2006 die Nachfolge von Hugh Wolff als Leiter des HR-Sinfonieorchesters antreten. Gemeinsam mit Helmut Reitze, Intendant des Hessischen Rundfunks, unterzeichnete Järvi gestern in Frankfurt den Vertrag, der ihn zunächst für drei Jahre an das Orchester bindet. Außerdem wurde eine Option zur Verlängerung um zwei weitere Jahre vereinbart.

Reitze betonte, dass Paavo Järvi der Wunschkandidat des Orchesters gewesen sei. In den vergangenen sieben Jahren hat der Dirigent bereits mehrfach beim Radio-Sinfonie-Orchester Frankfurt gastiert, das ab der kommenden Spielzeit unter der Bezeichnung "HR-Sinfonieorchester" firmieren wird. Sie wird noch unter künstlerischen Leitung des scheidenden Hugh Wolff stehen; allerdings soll Järvi bereits für zwei der zwölf Abonnement-Programme in der Alten Oper verantwortlich sein. Dort war der 1980 in die Vereinigten Staaten emigrierte Künstler zuletzt im November vergangenen Jahres als Chefdirigent des Cincinnati Symphony Orchestra zu hören. Diese Position will er neben seiner Frankfurter Verpflichtung ebenso beibehalten wie seine Funktion als künstlerischer Leiter der Deutschen Kammerphilharmonie Bremen und des Estnischen Nationalen Sinfonieorchesters.

Järvi soll das HR-Sinfonieorchester jährlich in mindestens 30 Konzerten leiten und dazu zehn Wochen pro Saison in Frankfurt arbeiten. Programmatische Schwerpunkte will er zum einen im Bereich der skandinavischen Musik setzen, also beispielsweise Werke von Carl Nielsen und Wilhelm Stenhammar dirigieren. Zum anderen möchte er neben den Spätromantikern Richard Strauss, Mahler und Bruckner auch zeitgenössische Komponisten verstärkt berücksichtigen. Von dem estnischen Komponisten Erkki-Sven Tüür soll ein Klavierkonzert, von dem jungen Deutschen Jörg Widmann ein sinfonisches Stück uraufgeführt werden. Järvi, der unter anderem bei Leonard Bernstein studierte, schätzt am HR-Orchester dessen "hohe Flexibilität" und beabsichtigt, das Ensemble international bekannter zu machen. Intendant Reitze begrüßte diese Zielsetzung, stellte aber auch klar, dass das Engagement des Orchesters in Hessen im bisherigen Umfang beibehalten werden soll. Als Gast des Orchesters ist Järvi am 9. Dezember in der Alten Oper zu erleben; sein Antrittskonzert als Chefdirigent ist für den Oktober kommenden Jahres geplant.

Monday, May 09, 2005

Neuer Chefdirigent bei hr-Sinfonieorchester

Paavo Järvi Paavo Järvi (Foto: dpa)

Ab der Saison 2006/2007 wird Paavo Järvi Chefdirigent des hr-Sinfonieorchesters
Netzeitung.de (09.05.05)
 
Der Nachfolger von Hugh Wolff beim hr-Sinfonieorchester steht fest: Ab der Saison 2006/2007 wird Paavo Järvi neuer Chefdirigent. Das gab der Intendant des Hessischen Rundfunks, Helmut Reitze, am Montag bekannt.

Der estnische Musiker arbeitet bereits seit Jahren mit dem Orchester zusammen. Als Chefdirigent steht er zunächst für drei Jahre unter Vertrag. Järvis Antrittskonzerte sind am 12. und 13. Oktober geplant. (nz)

Paavo Named New Music Director of the Frankfurt Radio Symphony Orchestra


Paavo with Director-General of Hessischer Rundfunk, Dr. Helmut Reitze, May 9, 2005 (photo credit: hr/Krieger)

Longtime Paavo Project readers may recall that on February 28 we reported that a German fan wrote to us about a rumor regarding PJ and Frankfurt. To refresh your memory:

With apologies to Robert Ashley and Music with Roots in the Aether -- this my music rumor with roots in the aether! LOL!

Anyway, when I discovered on Sunday that PJ was flying to Paris by way of Frankfurt, I kind is suspected that something unusual was up! Here is the text of the official press release in English:

Paavo Järvi New Music Director of the Frankfurt Radio Symphony Orchestra
Inaugural concerts in October 2006


"Paavo Järvi will be the new Music Director of the Frankfurt Radio Symphony Orchestra as from the 2006/2007 season. 'The choice of this first-class conductor will in future guarantee the outstanding position which the Frankfurt Radio Symphony Orchestra occupies in Germany', declared the Director-General of Hessischer Rundfunk (hr) Dr. Helmut Reitze. 

"An ideal candidate for the succession of Hugh Wolff – Paavo Järvi and the Frankfurt Radio Symphony Orchestra can already look back on many years of excellent cooperation. With this Estonian musician, the orchestra has been able to engage a versatile conductor, who is both highly recognized on an international level and in an ideal position to improve the profile of the Frankfurt Radio Symphony Orchestra with his extremely wide-ranging symphonic repertoire. 

"On 12 and 13 October 2006, Paavo Järvi will conduct his inaugural concerts with the Frankfurt Radio Symphony Orchestra. His contract as Music Director has been signed today and is concluded for an initial period of three years, with the option to be renewed for a further two years. Paavo Järvi will conduct at least 30 concerts per season, and will also lead the orchestra for guest performances and tours. In addition, two CD-projects have been planned per season.

"As guest conductor, Paavo Järvi will visit Frankfurt twice before his inaugural concerts. Audiences can hear him in concert with the Frankfurt Radio Symphony Orchestra this December in a programme of Bach / Webern, Beethoven and Nielsen and in February 2006 he will conduct both Arvo Pärt’s and Anton Bruckner’s Symphonies no.3. 

"Paavo Järvi expressed his delight on this new engagement, saying, 'I am very pleased to take over one of the most exciting German orchestras in one of the most interesting German regions.' The designated Music Director wants to present a diversity of music ranging from the classical to contemporary. A wide romantic repertoire will be cultivated just as much as rarities. Being Estonian by birth, Paavo Järvi also wishes to make the audience acquainted with lesser known composers from north-eastern Europe, such as Nielsen, Stenhammar and, for example, Tubin. The experience gained by the orchestra in recent years with historical performances will be further pursued by Paavo Järvi, who wishes to continue the Haydn tradition. The performance and examination of contemporary music will be a firm component of his programs. For his first term of office, orchestral works by Jörg Widmann and Marc-André Dalbavie have already been commissioned, as have two works by Erkki-Sven Tüür. Opening up to new audiences as well as working with children and young people is a matter of great importance to the 42-year-old Järvi. 

"In addition to his new role in Frankfurt, Paavo Järvi continues his work as Music Director of the Cincinnati Symphony Orchestra, Artistic Director of the Deutsche Kammerphilharmonie Bremen and Artistic Advisor of the Estonian National Orchestra. His recent European tour with the Cincinnati Symphony Orchestra has successfully shown his leadership of one of America’s oldest and well established orchestras, whilst his work with the Deutsche Kammerphilharmonie Bremen continues to establish the ensemble as one of the finest chamber music groups in the world."

RELATED STORIES:

Jarvi is taking second position by Mary Ellyn Hutton, Cincinnati Post (May 9, 2005)

Järvi adds Frankfurt orchestra to his resumé by Janelle Gelfand, Cincinnati Enquirer (May 10, 2005). Excerpt:

"...It is pretty standard practice for conductors to have more than one appointment,' says Järvi, reached by cell phone as he boarded a plane from Frankfurt to Paris.

" 'My appointment in Frankfurt will have no noticeable effect on my work in Cincinnati,' he says. 'Because Frankfurt is a major art center in Europe, it is a visible appointment and can therefore help bring more attention to what's happening here in Cincinnati.'

"Next season, Järvi will conduct 14 weeks of the Cincinnati Symphony's 24-week season. This year, he moved his family - partner Tanya Berman and their daughter, Lea, 15 months, into a new condo in East Walnut Hills. During his free time, Järvi is a fan of the Blue Wisp Jazz Club downtown, where he can often be found after symphony concerts."

Official Press Statement in German

Official site: Frankfurt Radio Symphony Orchestra

Paavo's Peer Gynt CD Released Today!


Check out that back cover photo!

Paavo's new recording of Edvard Grieg's Peer Gynt is released today in Europe. We North Americans will have to wait until June 7 to add it to our collections.

Recorded with the Grammy Award-winning team of the Ellerhein Girls’ Choir, Estonian National Male Choir, and the Estonian National Symphony Orchestra and featuring such delightful singers as soprano Camilla Tilling, mezzo-soprano Charlotte Hellekant, and baritone Peter Mattei, this release is Virgin Classics 5457222.

Buy directly from Amazon.com. Or, if you're just not willing to wait, go ahead and buy it directly from Amazon France.

Sunday, May 08, 2005

PJ to Take Up Baton as Part of Jarvifest, Detroit!

As the Detroit Symphony's beloved maestro Neeme Jarvi's tenure draws to a close, here is another look at his son Paavo's first in-depth interview with the Detroit Free Press's Mark Stryker:

Taking up the baton
Rising conductor Paavo Jarvi ascends his famous father's podium for a week of DSO performances

by Mark Stryker
Detroit Free Press, October 4, 1998

NEW YORK -- Paavo Jarvi puts down his fork in this bustling outdoor cafe in the shadow of Lincoln Center and launches into a favorite story about the summer Leonard Bernstein changed his life.

Jarvi, barely into his 20s, had enrolled in Bernstein's conducting institute in Los Angeles and was on the podium one day, stymied by Brahms' "Tragic Overture." Lenny was explaining how to conduct the opening chords when an aide interrupted to tell him it was time for another appointment; Bernstein brushed him off. A few minutes later, the aide again urged Bernstein to stop teaching and keep to his schedule.

Bernstein whirled on his chair and, smoldering, said: "I'm not teaching. I'm changing lives!"

"It was a tremendously egotistical thing to say, but you know what? He absolutely was changing lives, and that summer made all the difference to me," Jarvi says. "I realized that if I ever wanted to become a conductor, you have to live, breathe and eat the art of conducting."

Of course, Jarvi's father could have told him that, but you know how kids are: They never believe their parents until they hear it from someone else.


Jarvi, the eldest son of Detroit Symphony Orchestra music director Neeme Jarvi, will guest-conduct his father's orchestra for the first time this week at Orchestra Hall. The younger Jarvi, 35, arrives in Detroit with a reputation and resume of a rising star.

Especially well-known in Europe, Paavo (PAH-voe) Jarvi is the principal guest conductor of both the Royal Stockholm Philharmonic in Sweden and the City of Birmingham Symphony in Britain and also has led such top orchestras as the London Philharmonic and Czech Philharmonic. He's rapidly building his North American career through appearances with the Los Angeles Philharmonic and the Toronto, Houston, Dallas and Cincinnati symphonies, and he conducts regularly in Japan and Australia.

Jarvi, who was born in Estonia but emigrated with his family to the United States in 1980 at age 17, also has recorded 13 compact discs for a variety of labels, including music of Sibelius and a portrait disc of Estonian composers Arvo Part, Erkki-Sven Turr and Eduard Tubin. Jarvi's latest CD, an all-Bernstein homage, will be released Tuesday on Virgin Records.

Jarvi has apartments in both London and New York, but if he's in either for more than a few days a month, it's an anomaly. In fact, nothing better illustrates the globe-trotting lifestyle of the modern maestro and the internal dynamics of the Jarvi clan than two nutty episodes from the DSO's European tour last spring.

As the DSO and Neeme Jarvi arrived in London, Paavo Jarvi was driving to the airport; the two spoke by cellular phone. Two weeks later in Vienna, the DSO was greeted by posters plugging an upcoming performance by Paavo Jarvi with the Stockholm Philharmonic.

A modest son

Following in the footsteps of a famous father in any field is never easy. Just ask Frank Sinatra Jr. or Gary Nicklaus. Paavo Jarvi, a deeply serious and self-critical musician, is well aware that his father's imposing shadow begs constant comparison. Let's see, 13 CDs. He's only 310 behind his father.

Born: Tallinn, Estonia
Age: 35
Residence: Apartments in New York and London
Occupation: Conductor
Current appointments: Principal guest conductor of the Royal Stockholm Philharmonic in Sweden and the City of Birmingham Symphony in Britain
Key recordings: "Searching for Roots," including Estonian music by Part, Tuur, Tubin (Virgin); Sibelius' "Kullervo" and "Lemminkainen Legends" (Virgin); Leonard Bernstein's "Prelude, Fugue and Riffs," "Divertimento," "West Side Story -- Symphonic Dances" (Virgin)
Favorite music (subject to change): Bruckner symphonies; Sibelius, Fourth Symphony; Nielsen, Fifth Symphony; Haydn symphonies
Favorite recordings conducted by his father, Neeme Jarvi: Rachmaninoff, Third Symphony; Shostakovich, Ninth Symphony; Prokofiev, Sixth Symphony; Dvorak symphonies; Strauss tone poems

On conducting: "I think a conductor should bring out a certain emotion in you, move you in some way, make you think in some way. There's nothing worse than a boring, straight, middle-of-the-road, good, correct performance. I would much rather witness a real disaster than a ...safe kind of a performance. That's the worst kind of conducting I can imagine."

Professionally, Jarvi consciously downplays his lineage. His official biography doesn't mention his father. He has painstakingly climbed up the ladder of Scandinavian orchestras to his current post in Stockholm. Moreover, he deliberately waited until he had established himself in other American cities before guest-conducting in Detroit to sidestep charges of nepotism.

Yet in terms of learning the craft, the advantages of family are incalculable. Remember, he grew up in a home in which composers like Dmitry Shostakovich and Aram Khachaturian were frequent guests. "You get so much inside information about music and the art of conducting, which can take others years and years to discover," he says.

"You learn a lot about the conductor's hidden side -- the homework. We grew up with a father who was always studying, and we were always listening to music together. We were always playing games like 'name that composer.' And if you couldn't tell the composer, you should be able to tell the century."

Neeme Jarvi says he and his wife, Liilia, never pressured their children into music -- daughter Maarika, 34, plays flute in a Madrid, Spain, orchestra; son Kristjan, 26, a newly appointed assistant conductor at the Los Angeles Philharmonic, is also pursuing a conducting career. But as parents, they carefully organized their children's activities, including music lessons.

"Discipline is very important," says Neeme Jarvi.

'His own ideas'

On the podium, Paavo Jarvi looks like his father; they share the same high forehead and fleshy cheeks, and their baton techniques are similar. Artistically, however, they are far from clones, a result of both temperament and generation.

They are both fiery and dramatic musicians. But if the elder Jarvi favors impulsive sweep and momentum in his Sibelius recordings, to cite one example, the son etches the same music with sharper details and greater fastidiousness.


"He always has his own ideas," Neeme Jarvi says, pointing to his son's recording of Sibelius' epic symphonic poem "Kullervo."

"The last movement is so slow, but so deep and so sad. He has gone through this piece deeply; much more than me. He's thinking what he's doing. When I was young, I didn't have much time to think. I just did. He's always trying to learn why?"

Like most young conductors, Paavo Jarvi believes in historically informed performances of Beethoven and Mozart -- readings that take into account the performance practices of the composer's day. Neeme Jarvi's Beethoven is the work of an unreconstructed, big-boned romantic.

"On the other hand, my understanding of Haydn really comes from my father," says Jarvi, "because of the experience of growing up playing Haydn symphonies with him four hands on the piano, and always trying to discover their essence and being so amazed at how Sir Thomas Beecham gets so much fun out of them."


Jarvi has more of a bent for contemporary music than his father, though both champion the music of composers from their native Estonia and both have forged close relationships with the orchestras and composers of Scandinavia.

Yet perhaps the strongest link between the two musically is their curiosity. Both love to explore unfamiliar repertoire, and both remain impatient with received musical wisdom. "Tradition can be an excuse for intellectual laziness," says Paavo Jarvi.

In many ways, however, Jarvi's keen mind and meticulousness suggest his mother more than his father. Liilia Jarvi can be as tenacious as a terrier when the interests of her husband and children are at stake. It was Liilia who maneuvered through the Soviet bureaucracy, pressuring the authorities for years to let the family emigrate.

To this day, she and a full-time secretary micromanage the home offices for Neeme, Paavo and Kristjan; Paavo Jarvi hasn't seen his American Express or phone bill in years, and it's Liilia who wrangles with the lawyers and accountants. "My mother is very, very into detail," Jarvi says between bites of angel hair pasta. "We are a combination of both parents."

Neeme and Liilia Jarvi own a palatial Upper West Side apartment in New York in a 61st Street high-rise that neighbors Lincoln Center: three bedrooms, buffed hardwood floors, art deco trimmings, grand piano and a million-dollar balcony view in all four directions. Paavo Jarvi has his own modest apartment in the same building.

After lunch, back in his parents' place, he digs out a black-and-white photo of himself at age 12, behind a xylophone, with Khachaturian standing nearby. As a boy, he traveled with a small band of musicians as a soloist, often performing the composer's knuckle-busting "Sabre Dance."


Percussion, then piano

Jarvi was born in the Estonian capital of Tallinn. Like his father, he studied percussion. The lessons began at age 4. He soon took up piano, too, attending elementary school during the day and music school at night. He can't remember a time when he didn't want to become a conductor.

He'd follow his father to work at the state opera house and wander through as if it were a carnival, mesmerized by the exoticism of guys in false noses, grotesque makeup and funny wigs and the ballerinas and fiddle players on break, drinking coffee and smoking cigarettes.

Jarvi started formal conducting lessons as a teenager. After the family emigrated in 1980, settling in New Jersey, he entered a precollege program at the Juilliard School in New York as a percussionist. He also began private conducting lessons with Leonid Grin, a recent emigre himself from Moscow who was steeped in the emotional Russian school.

Grin, now music director of the San Jose Symphony in California, says that Paavo Jarvi displayed a bouquet of natural gifts -- the flamboyance, enthusiasm and insight necessary to communicate his vision to an orchestra -- coupled with a strenuous work ethic and a dexterous mind. "I think Paavo is one of those born to be a conductor," Grin says.


For two years, Jarvi attended Rutgers University in New Jersey, where he started his own semipro orchestra, then he moved to the University of Houston when Grin took a position there. Later, he studied at the Curtis Institute in Philadelphia with Max Rudolf, whose Germanic orientation stressed the technical and pragmatic side of the conductor's craft.

After graduating from Curtis in 1988, he began building a career. He got a radio recording gig with a small orchestra in Norway and was invited back for a concert the next year, which led to contact with a Scandinavian agent. If you're good, word travels quickly, and in 1993, Jarvi was hired as chief conductor of the Malmo Symphony, a regional orchestra in Sweden's third-largest city.

In 1995, he became principal guest conductor of the Royal Stockholm Philharmonic. In 1996, he took the same post with the City of Birmingham Symphony, which brought him into the orbit of Sir Simon Rattle, the onetime wunderkind who has built the orchestra into the most vital in England through talent, charisma and exploratory programming.

When Jarvi takes over his own top U.S. or European orchestra -- and some industry insiders say it could happen sooner rather than later -- expect him to recreate the Birmingham model in his own image.

"The real emphasis there is integrity," says Jarvi. "Not box office. Not sales. Not stars.

"When integrity is in place, the box office, stars and everything else follows, just like it should.... That's one reason why I accepted the position. It wasn't just the music but also the association with Simon and an orchestra that stands for something in England."


Mark Stryker can be reached at 1-313-222-6459.

Saturday, May 07, 2005

CSO season ends with tour de force

Tchaikovsky's Fourth a triumphant finale

by John K. Toedtman
Cincinnati Enquirer, May 7, 2005

The Cincinnati Symphony Orchestra concert Friday evening in Music Hall began with a rousing piece by contemporary composer Jennifer Higdon.

"Fanfare Ritmico" is an energetic composition full of driving percussion and violent, repeated notes over a harmony of surprisingly tonal major chords.

A savage drum beat by timpani and bass leads to a Copeland-like angular theme by the strings. The complex rhythmic fragments would be a challenge for any orchestra, but were executed with precision and aplomb by Paavo Järvi and the CSO.

The Concerto No. 1 in C Minor For Piano, Trumpet and String Orchestra, written by the Russian composer Shostakovich in 1933, borrows heavily from Beethoven's Appassionata Sonata and also his "Rage Over a Lost Penny" but otherwise is uniquely Russian.

Pianist Alexander Toradze, equipped with formidable technique and a superb sense of lyricism, supplied a commanding performance of the piano part, which truly dominates the concerto.

The percussive quality of the piano is enhanced by the sharp attack which the pianist employs at the keyboard. The second movement, a Lento, allowed Toradze to spin a long and beautiful melodic line out of the piano, and the forlorn yet sweet tone from the trumpet of CSO member Phillip Collins complemented the piano very well.

In the last movement, sadness is replaced with uncontainable joy and a brashness akin to Prokofiev.

Following a tumultuous standing ovation, the finale of the concerto was repeated as an encore for the enthusiastic audience.


The three great symphonies of Tchaikovsky - four, five and six - all exploit the full range of dynamics and the resources of the brass, winds and strings.

Tchaikovsky wrote the fourth symphony while undergoing extreme personal upheaval.

From the opening theme with the brass ominously calling forth fate the Symphony Number 4 in F Minor, Opus 36 deals with strong emotions.

As the work progresses the mood gradually lifts out of the abyss, as if the act of composing this symphony removed Tchaikovsky from his depression and unhappy marriage.

Järvi's tempi move the music ahead, yet allow it to breathe and speak to the listener without missing any of the grand emotions it contains. The last movement is a whirlwind full of sound and fury, signifying the end of a glorious symphony and a glorious season for the CSO.

Paavo Jarvi and CSO close the season on a high note

By Mary Ellyn Hutton
Cincinnati Post, May 7, 2005

Blame it on pianist Alexander Toradze - or an overdose of percussion or too much (T)chai(kovsky).

But by the time Paavo Jarvi and the Cincinnati Symphony sent up the final triple forte chords of Tchaikovsky's Fourth Symphony Friday night at Music Hall, the audience burst into a roar.

The mood had been building all evening , so much so that the crowd seemed almost punchy by the finale of the Tchaikovsky, breaking into applause at various times, apparently for the sheer merriment of it. Jarvi looked around once, as if to say "not yet," but he seemed more amused than annoyed.

It was the final concert of the CSO season and a bit of "tearing down the goal post" might have seemed in order. Especially after a season filled with musical highs and reports of such from the road during the orchestra's fall tour of Europe.

Joining Friday night's crowd were representatives of the Association of Major Symphony Orchestra Volunteers, who have been meeting in Cincinnati this week. Perhaps they were surprised by what they heard from this midwestern orchestra, which has been gradually gaining the ear of people beyond southwestern Ohio.

Toradze has had to take the blame for excitement at the CSO before, most recently in Rachmaninoff's Piano Concerto No. 3 during the 2001-02 season. Friday he applied his roguish virtuosity to Shostakovich's Concerto for Piano, Trumpet and Strings in C Minor. Joining him in an extraordinary performance was CSO principal trumpeter Philip Collins.

Shostakovich's 1933 concerto - not performed at the CSO since its premiere here in 1947 - lends itself perfectly to mischief. There are references to Beethoven as well as Shostakovich's own music in it, and there are some wonderfully wacky moments in the final movement. The trumpet plays an important but subordinate role - Collins was positioned behind the orchestra in the trumpet's usual spot - underscoring expressive moments and providing a special punch of its own.

Toradze's big-boned, energized playing grabbed listeners' by the scruff of the neck in the first movement, whose principal theme Shostakovich deliberately borrowed from Beethoven's "Appassionata" Sonata. Collins' interjections included snippets from Beethoven's Septet. All was not fun and games in Shostakovich's world, however - revisionists can read all kinds of anti-Soviet meanings into his music - and the concerto has a soulful slow movement. Toradze read it solemnly and softly, a bit like a Russian "Valse Triste," Collins' muted trumpet sounding like a call from a distant battlefield.

Jarvi was Toradze's willing accomplice in the bravura finale - one is reminded that both men are from countries formerly dominated by the Soviet Union (Estonia and Georgia) - and there were broadsides throughout. Beethoven's "Rage Over a Lost Penny" makes a brief appearance in the piano cadenza, and it was frankly burlesque to the end, with a big glissando in the piano and an off-to-the-races fanfare by Collins with gleeful afterbeats by Toradze and the CSO.

The encore was just that, a repeat of the finale, where Toradze raised the mirth meter by changing a formerly forte chord to pianissimo and "messing up" one of the bravura passages with exaggerated exertion.


Tchaikovsky's Fourth Symphony began with a fanfare of a different kind, stolid, serious and brassy, answered by chords that teased a rumble from the Music Hall floorboards. Lines were clean and full of intensity throughout the first movement. The strings executed their dotted rhythms with military precision, and Jarvi took the orchestra down to a whisper at times for a sublime effect.

The lovely Andantino earned well deserved applause - kudos to the woodwinds for some eloquent solo work - and the jaunty third movement proceeded like clockwork. Jarvi laid aside his baton here, shaping the pizzicato passages with subtle but effective gestures, demonstrating the Jarvi maxim that sometimes it isn't necessary to conduct at all.

He picked up his baton for the final Allegro con fuoco, whose bombast and showy scalar passages brought the audience to their feet.


Jarvi opened with the CSO premiere of American composer Jennifer Higdon's 2000 "Fanfare Ritmico," a seven-minute immersion in percussion and rhythmic pizzazz.

Friday, May 06, 2005

Terrific Program Ends Paavo's First Four Year "Term" in Office!

Wow! If you weren't one of the many who attended the Cincinnati Symphony's Friday night concert, well--you really should have been! Get thee to the ticket office and be there Saturday night!

Paavo and his players, bolstered by a blistering performance by Georgian pianist Alexander Toradze, set the night on fire--and did so in front of one of the largest Friday night audiences of the season. From the program opener, the engaging Fanfare Rimtico, a percussionists' tour de force, by Jennifer Higdon (one of the classical music world's rare female composers), the audience was clearly digging it.

When Alexander Toradze, clad all in black, strode out, ahead of Paavo, to begin Shostakovich's Concerto for Piano, Trumpet and Strings in C Minor, the excitement level went up -- bam! bam! -- a few notches. I have no clue whether Paavo thinks of Toradze as a "good luck charm", but in an interview in a local paper Thursday, Paavo recalled that it had been Toradze who had been the soloist the first time that Paavo guest conducted the CSO. (See Järvi, CSO sparkle in Sibelius' Fifth by Mary Ellyn Hutton, Cincinnati Post, February 20, 1999.) He also shone in his last performance here, during Paavo's second season, playing the Rach 3 (Pianist shines in knuckle-buster by Mary Ellyn Hutton, Cincinnati Post, November 9, 2002). Clearly, theirs is a wonderful collaboration and one in which Philip Collins, the CSO's lead trumpet, and the orchestra both reveled. Toradze, an imposing figure at the keyboard, clearly took great delight in this piece, at times crouching low like a tiger waiting to pounce, and at other times caressing the keys like a gentle giant. (I can personally attest to the fact that, despite some lightning quick runs, at no time did his fingers actually leave his hands! ROTFL!) The piece culminated in a tear, with the orchestra in off-to-the-races mode at one point (can the Kentucky Derby really be tomorrow?) and the audience exploding in a standing ovation, demanding an encore. Paavo obliged with a gleeful reprise of the last movement, sending this concert into "overtime"!

After intermission, Tchaikovsky's Fourth Symphony provided the final course for this musical feast. Sated by a tremendously satisfying program and passionate performances, the audience rose almost as one at its conclusion and roared its approval.

Details on that Lincoln Center Reconfiguration

Business Wire.com has an article detailing the anticipated changes being made to Lincoln Center's Avery Fisher Hall for this year's Mostly Mozart Festival in this piece:

Avery Fisher Hall Reconfigured for Mostly Mozart Festival Summer 2005 Season; New Stage Installation To Provide More Intimate Setting for Mostly Mozart's Avery Fisher Hall Concerts, May 3, 2005

As stated in the article: "Designed by Fisher Dachs Associates, the new installation extends the stage 30 feet into Avery Fisher Hall and includes new "courtside" seating sections at the sides and behind the orchestra. This "surround-concert" setting and the extension of the stage into the hall creates a more intimate musical environment for the 17 Mostly Mozart concerts in Avery Fisher Hall. The reconfiguration also includes a new acoustical and lighting canopy over the stage extension...."

Thursday, May 05, 2005

No shortcuts to Järvi's success

No shortcuts to Järvi's success
Conductor takes pride in emergence of CSO


By Mary Ellyn Hutton
Cincinnati Post, May 5, 2005

Where in the world is Paavo Järvi?

Late on a Wednesday afternoon, the Cincinnati Symphony music director is at his desk at Music Hall, between meetings with CSO staff and an evening fund-raising event.

Ask him where he'd like to be in September 2009, and the answer is the same.

"Here. I see this as home."

(Järvi's CSO contract expires in August 2009).


Though his name has appeared on the wish list of orchestras like the Chicago Symphony, traditionally ranked among the nation's "Big Five" with Boston, New York, Philadelphia and Cleveland, Cincinnati matches Järvi's aspirations perfectly.

"For me, empty fame, which is not sort of earned, is not really worth anything. It is important to me that I achieve some sort of result by doing the work. This orchestra is already one of the best orchestras in America, and I think that with enough work and perseverance, it will be seen as such, as well.

"If I feel that we can develop here and there are enough resources and enough support, then I haven't any reason to go anywhere."


The key word in Järvi's comment is "work."

Take a look at how he'll spend his summer.

After this weekend's concerts - the last ones of the CSO season, at 8 p.m. Friday and Saturday at Music Hall - he goes to Paris, then to Tallinn in his native Estonia and on to Japan, where he will spend a month guest conducting Tokyo's NHK Symphony.

In June, he returns to the U.S. to conduct the Detroit Symphony in its final concert of the season, a tribute to his father, Neeme Järvi, Detroit's music director for 15 years, who is leaving to become music director of the New Jersey Symphony.

Järvi, his father and younger brother Kristjan will conduct in St. Petersburg, Russia, in June as part of a "Järvi Marathon" during the city's annual White Nights Festival. In July and August, he tours with the Deutsche Kammerphilharmonie Bremen
, of which he is artistic director, including a stop at the Mostly Mozart Festival in New York City.

In 2005 alone, Järvi is booked for 91 concerts, an average of one every four days. For details, visit www.paavojarvi.com or www.paavoproject.com.

Since becoming CSO music director in September 2001, Järvi, 42, has raised the orchestra's profile markedly. They have made eight CDs for Telarc - the two recorded this season will be released in 2005-06. He has taken the orchestra on two international and two domestic tours (Japan, Europe, the East Coast and Florida) and they have performed twice together at Carnegie Hall to flattering reviews.

"I think we are much better recognized in the world now," he said. "We are certainly receiving a lot of important attention. And I'm not talking about just media attention, but also in the business, in the inner circles of the musical world. People are noticing that something is going on.

"Everybody who comes to us - soloists, even guest conductors and people who occasionally play with us as extra players or substitutes - they are coming in and saying, 'I heard this is a good orchestra, but I never expected this.'"

Part of the reason is Järvi's extremely high standards.


"There is always a way of doing better. That's why the most important thing for me is to come here in the morning and start working again. It's never ready."

There are no shortcuts, he said. "If you don't work something out, it's not going to work. So either I let it go and it's not going to work, or I work it out. And they know I'll work it out."

Part of making the CSO better is making its environment better and Järvi has committed to that by tackling the reconfiguration of Music Hall (at 3,416 seats, the largest concert hall in the U.S.).

The plan, he said, is to move the stage out into the hall to create a more intimate environment for the players and the audience (for plans to do the same thing at New York's Avery Fisher Hall, see the New York Times, May 3, 2005).

Work is in progress, he said, on a "mock stage" or platform where he and the orchestra can test the acoustics and "try out different positions and set-ups."

"Nobody should be concerned," he said. "There is going to be no quick 'Let's demolish something,' only to find out that it didn't work."


Järvi takes his fund-raising responsibilities seriously, too. With the decline of the stock market, the CSO needs to replenish its endowment and he meets with donors and potential donors constantly. "You have no idea how many," he said.

The time Järvi spends in Cincinnati is "very intense," he said, but "I'm at home. At night, for example, I don't go to a hotel, I go home, and for me, that's very relaxing."

Home is a condominium in East Walnut Hills, where he lives with his partner, violinist Tatiana Berman, and their 15-month-old daughter, Lea.

"She is starting to say some words. She says 'papa' and 'bye-bye' and 'cuckoo' and a lot of little words which are not really words, but are very nice."

She also says "aitäh," Estonian for "thank you," he said, demonstrating the toddler's little whisper on the final "h" and the funny faces father and daughter make at each other.

Järvi fits in vacation time when he can, usually at the Järvi family compound in West Palm Beach, Fla.

"I try to plan for vacation," he said, "but there are so many projects I want to do and I need to do."

He also likes to go to new places, like Portugal, where he will guest conduct Lisbon's Gulbenkian Orchestra in November for the first time. "I'm dying to go to New Zealand," he said.

But always with his baton.

"I don't really know how to do anything else, so I have to sort of stick to conducting."

He returns to Cincinnati to open the CSO season with Beethoven's Ninth Symphony Sept. 16 at Music Hall.

Järvi wants a hall as hip as your coffeehouse

By Janelle Gelfand
Cincinnati Enquirer, May 5, 2005

Paavo Järvi's wish list for perfect a concert experience: a drink before the concert in a trendy new bar, dinner afterward in a Music Hall café, a place to buy CDs and books, and great music.

"The more pleasurable you can make it, the better," says the Cincinnati Symphony Orchestra's music director. "My idea is to make this a real living room for Cincinnati, where people can feel comfortable and safe and at home."

As he prepared for the final concert of the season, Järvi took stock of his fourth season and the future of the orchestra as it grapples with a busy public that no longer commits to long subscription series.

Although concert attendance is improving, Järvi says, the musicians are demoralized to look out on the vast, 3,400-seat hall and see so many empty seats.

"There is a constant perception of underachieving, because of the empty seats," he says.

Board members and city leaders have been discussing potential changes to Music Hall's auditorium to make it be - or appear to be - smaller. The orchestra has consulted acoustical experts.
Under discussion is building a temporary extension into the hall, for a "surround" effect, as an experiment similar to that announced Tuesday by New York's Mostly Mozart Festival in Lincoln Center.

"We're moving ahead, but slowly, because it's a very important project," Järvi says. "For anybody who is worried about the integrity of Music Hall, don't be. It is very important to us as well."

The project should include a garage adjacent to Music Hall (under serious discussion) and a restaurant, he says.

Meanwhile, Järvi worries that box office pressures will cause symphony management to demand more "accessible," well-known music, and not the new or lesser-known works.

"It's about advancement, it's about music, it's about being innovative," Järvi says. "It's about seeing older and great masterpieces in a new light, and maybe comparing them to things that people don't know."


For Järvi, this year had many highlights - among them, Sibelius' epic "Kullervo," which opened the season.

"One of the proudest moments for me was when the Estonian National Male Choir sang for the first time in Cincinnati. It certainly felt like an occasion," the Estonian native says.

His first European tour with the orchestra in November earned ecstatic reviews and a renewed European presence for the Cincinnati players.

"There's something extremely gratifying about playing Mahler in Vienna and having standing ovations," he says. "The other highlight was the Paris concert. I thought there was something very special in the air that night. Now when I go back, people talk about our concert."

And his Telarc recordings - he recorded his ninth this week of Lutoslawski and Bartok - are making an impact.

"From Hong Kong to Beijing, to Japan to all over America, they're playing our CDs, and ultimately that is doing the work," says the conductor.


IF YOU GO
What: The Cincinnati Symphony Orchestra, Paavo Järvi, conductor; Philip Collins, trumpet; Alexander Toradze, piano
When: 8 p.m. Friday and Saturday
Where: Music Hall

The program: Jennifer Higdon's "Fanfare Ritmico"; Shostakovich's Concerto for Piano, Trumpet and Strings; Tchaikovsky's Symphony No. 4

Tickets: $17.50-$73; $10 students

(513) 381-3300 or www.cincinnati symphony.org

E-mail jgelfand@enquirer.com

Wednesday, May 04, 2005

Don't Miss This Season's Final Concerts!



Your last chance this season to see Paavo and his big band, the CSO, will be Friday, May 6, and Saturday, May 7, at 8 pm. You know you'll miss their moving performances over the summer, so why not treat yourself and a loved one (hey! how about Mom?) to this week's concert. The program features Fanfare Ritmico by Jennifer Higdon; Shostokovich's Concerto for Piano, Trumpet and Strings in C Minor -- last performed here in 1947! -- featuring guest artist Alexander Toradze (piano) and the CSO's lead trumpeter Philip Collins; and ending with Tchaikovsky's Symphony No. 4 in F Minor.

Listen to Paavo's Notes on this concert here. Read the Program Notes before you go.

This program will air on WGUC-FM, 90.9 via streaming audio on Sunday, May 29, at 7:30 pm.

Tuesday, May 03, 2005

Take a Friend to Orchestra Month!

Someone, somewhere, has proclaimed May as Take a Friend to Orchestra Month. Since there is only one week left in the Cincinnati Symphony's current season, if you'd like to take that friend with you, you had better get moving!

Here, from Drew McManus' Adaptistration blog on Arts Journal.com, is a lovely piece by Henry Fogel, President and CEO of the American Symphony Orchestra League. It may provide you with just the impetus you need!

Sunday, May 01, 2005

WCET's Music Hall Program to go head-to-head with American Idol finale!

The Cincinnati Enquirer's John Kiesewetter reports in his Sunday, May 1, 2005 column that the Program on Music Hall expanded to 90 minutes:

"Too much good stuff has convinced WCET-TV (Channel 48) programmers to expand its Music Hall documentary from 60 to 90 minutes.

"Music Hall: Cincinnati Finds Its Voice debuts 8 p.m. May 25, the last day of sweeps. The tough TV choices include Fox crowning the next American Idol, ABC's Lost finale and CBS' Amber Frey: Witness for the Prosecution with Janel Molony (The West Wing) as Scott Peterson's former girlfriend.

"Channel 48 plans several repeats of Music Hall. It also may offer the program to PBS as a 30- or 60-minutes analog show or a HDTV version."

I'm glad. PBS and its affiliates are no match for the Big 3 Networks, especially when they are spewing out the biggest and baddest budget sweeps spectaculars they can. Tossing WCET's labor of love into the Roman Colesseum of which the battle for ratings supremacy has become is tantamount to throwing the whole program away. Music Hall, its fabled history, and WCET producer Joanne Grueter deserve much more respect!